OIL PAINTINGS AND WATER- 
COLORS BY GEORGE INNESS 


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PRIS del eC IS EHETE CORN 


From Saturday * March 19 Until Time of Sale 
Weekdays g to 6: Sunday 2 to 5 


MNS PRICE DePUBLIC SALE 
Thursday Evening March 24 at 8:15 O’Clock 


Peru leh @ Ne cs SAI AT) LAE 


American Art Galleries 
Madison Avenue * 56th to 57th Street 
New York City 


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SAVES GON DIG Epa By. 
Mr. O. Bernet and Mr. H. H. Parke 


American Art Association: Inc 
MANAGERS 


1927 


PORTRAIT OF THE LATE 
GEORGE INNESS 


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Works by George Inness 


UW inbdeh Ke <Q BARN 16 AP AIOE ie O78 2 


Mrs. Jonathan Scott Hartley 
eold by Her Order 


Pes 


Including Some of the Artist's 
Finest Paintings Never Before 
Exhibited + And His Entire 
(ollection of Water-colors 2 


Under Management of the 
American Art Association 


[ENE CeORRS PRIOR AR Leia) 


New York 
1927 


Priced (‘ata logues 


Priced copies of the catalogue, or any session 
thereof, will be furnished by the Association at 
charges commensurate with the duties involved 
in copying the necessary information from the 


records of the Association. 


The AMERICAN ART ASSOCIATION : Inc 


Designs its (atalogues 
and Directs -All Details of Illustration 
Text and Typography 


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Conditions of Sale 


LAP, _» 


REJECTION oF Bips. Any bid which is not commensurate with the value 
of the article offered, or which is merely a nominal or fractional advance, 
may be rejected by the auctioneer if in his judgment such bid would be 
hkely to affect the sale injuriously. 

Tue Buyer. ‘The highest bidder shall be the buyer, and if any dispute 
arises between two or more bidders, the auctioneer shall either decide the 
same or put up for re-sale the lot so in dispute. 

IDENTIFICATION AND Deposir By Buyer. The name of the buyer of each 
lot shall be given immediately on the sale thereof, and when so required, 
each buyer shall sign a card giving the lot number, amount for which sold, 
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shall be made of all or such part of the purchase prices as may be required. 
If the two foregoing conditions are not complied with, the lot or lots so 
purchased may at the option of the auctioneer be put up again and re-sold. 
Risk AFTER Purcuase. ‘Title passes upon the fall of the auctioneer’s ham- 
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consignor nor the Association is responsible for the loss of, or any damage 
to any article by theft, fire, breakage, however occasioned, or any other 
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. DELIvERY oF PurcHasEs. Delivery of any purchases will be made only 


upon payment of the total amount due for all purchases at the sale. 


. RecerprED Bitis. Goods will only be delivered on presentation of a re- 


ceipted bill. A receipted bill presented by any person will be recognized and 
honored as an order by the buyer, directing the delivery to the bearer of the 
goods described thereon. If a receipted bill is lost before delivery of the prop- 
erty has been taken, the buyer should immediately notify the Association of 
such loss. 

SrorAGE IN DEFAULT oF Prompr PayMENT AND CALLING For Goons. 
Articles not paid for in full and not called for by the purchaser or agent by 
noon of the day following that of the sale may be turned over by the Associa~ 
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time of the delivery therefrom to the purchaser, and the cost of such cartage 
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the risk of loss or damage occasioned by such removal or storage will be upon 
the purchaser. I In any instance where the purchase bill has not been paid in 
full by noon of the day following that of the sale, the Association and the 
auctioneer reserve the right, any other stipulation in these conditions of sale 
notwithstanding, in respect to any or all lots included in the purchase bill, at 
its or his option, either to cancel the sale thereof or to re-sell the same at 
public or private sale without further notice for the account of the buyer 
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expenses sustained in so doing. 

Suippinc. Shipping, boxing or wrapping of purchases is a business in which 
the Association is in no wise engaged, but the Association will, however, 


10. 


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afford to purchasers every facility for employing at current and reasonable 
rates carriers and packers; doing so, however, without any assumption of 
responsibility on its part for the acts and charges of the parties engaged for 
such service. 

Guaranty. The Association exercises great care to catalogue every lot 
correctly and endeavors therein and also at the actual time of the sale to 
point out any error, defect or imperfection, but guaranty is not made either 
by the owner or the Association of the correctness of the description, genuine- 
ness, authenticity or condition of any lot and no sale will be set aside on 
account of any incorrectness, error of cataloguing or imperfection not noted 
or pointed out. Every lot is sold ‘‘as is” and without recourse. QL Every 
lot is on public exhibition one or more days prior to its sale, and the Associa- 
tion will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may 
thereafter sell the lot as catalogued or make mention of the opinion of such 
expert, who thereby will become responsible for such damage as might result 
were his opinion without foundation. 

Recorps. The records of the auctioneer and the Association are in all cases 
to be considered final and the highest bid shall in all cases be accepted by 
both buyer and seller as the value against which all claims for losses or 
damage shall lie. 

Buyinc on Orpver. Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph, or telephone, if con- 
ditions permit, will be faithfully attended to without charge of commission. 
Any purchases so made will be subject to the foregoing conditions of sale, 
except that, in the event of a purchase of a lot of one or more books by or 
for a purchaser who has not through himself or his agent been present at the 
exhibition or sale, the Association will permit such lot to be returned within 
ten days from the date of sale, and the purchase money will be refunded, 
if the lot differs from its catalogue description. Orders for execution 
by the Association should be given with such clearness as to leave no room for 
misunderstanding. Not only should the lot number be given, but also the 
title, and bids should be stated to be so much for the lot, and when the lot 
consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit must be sent or reference submitted. 
Shipping directions should also be given. 


These conditions of sale cannot be altered except by the 
auctioneer or by an officer of the Association 


OTTO BERNET - HIRAM H. PARKE ;: Auctioneers 


AMERICAN ART ASSOCIATION - INC 
Managers 


CATALOGUE 


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INTRODUCTION 


HE present collection, which is the property of Mrs. J. Scott Hartley, 

daughter of the late George Inness, comprises the last assemblage of paint- 

ings by Inness in the possession of his family. It is remarkable for an 
extremely important group of forty water-colors, which are in the highest sense of 
the word finished pictures, signed by the master; and which have never been outside 
Inness’ family or, indeed, on public exhibition anywhere except in his own town of 
Montclair. ‘These are largely studies of Milton and Montclair landscapes and 
paintings of the Roman Campagna and the Tyrolese Alps made by Inness in the 
70’s during his many sojourns in Italy. 

Many of the more important paintings were given directly by George Inness 
to his daughter; thus, The Coming Storm was a wedding present from him 
on the occasion of her marriage with the well-known sculptor, J. S. Hartley. Others 
were inherited by her from her mother. Here again the public is privileged to view 
for the first time a group of important oil paintings which, with few exceptions, 
have never previously been on exhibition. 

Several of the Inness landscapes were painted by him at Milton-on-the-Hudson 
on the farm of the hospitable Quakeress, Mrs. Asia Hallock, at whose house the 
family passed many delightful summers; of this period are the intimate paintings, 
See-Saw [No. 61], Apple Trees [No. 65], On the Farm [No. 72] and The 
Orchard |No. 75]. The most interesting of the Italian pictures is the brilliant 
Washing Day Near Perugia [No. 70], painted with swiftness and of extreme 
purity of color. Niagara [No. 71] is one of the si aller studies made by him for 
the well-known large canvass commissioned by Mr. Roswell-Smith, afterwards 
father-in-law of George Inness, Jr.; while of greater family interest is the early 
First Roundhouse of the D. L. S& W. R. R. at Scranton, concerning which an 
amusing anecdote is told in the catalogue and which embodies one of Inness’ favo- 
rite stories. 

It will perhaps not be out of place here to recall briefly the career of the 
greatest American landscape painter. George Inness was born in Newburgh, N. Y., 
in 1825, his parents moving afterward first to New York City and then to Newark, 
N. J. An early disposition towards art was encouraged by elementary instruction, 
only to be interrupted by ill health; but in 1846 he was enabled to spend a few 
months of study under Regis Gignoux, a French painter with a studio in New 
York. Following this commenced a long self-apprenticeship, which the artist spent 
in almost passionate study of nature. In 1853 he was elected A.N.A. and full 
member in 1868; from 1871 to 1875 he was in Italy, by which time he had 


acquired a European reputation, chiefly under the aegis of Benjamin Constant. 
After a full and vigorous life he died in August, 1894, suddenly, at the Bridge of 
Allan in Scotland, at the age of sixty-nine years. 

Inness is represented fully in the Metropolitan Museum of New York and 
throughout the museums and private galleries of the country; the most important 
assemblage of his works in America being the remarkable Butler Collection of the 
Chicago Art Institute, to which an entire gallery is devoted, in fitting homage to 


the man who was acclaimed in his day as the foremost painter of his time. 


AMERICAN ART AssocIATION, INC. 


Opener nese ee ea? 


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SALE AT THE AMERICAN -4ART GALLERIES 
Works by George Inness 
SALE MARCH 24, 1927 
Ls 

To save time and to prevent mistakes each purchaser will oblige the 
management by filling in this slip and handing it to the record clerk or 
sales attendant on making the first purchase. 

Purchaser’s Name_ 

Address in Full ee ee 
CULES, ISITE AG a a Ee a 


LE TDN DEES a ae 


AMERICAN ArT ASSOCIATION‘ INC°* Managers 


SLING a th a tt Mie Sl AIG 


EVENING SESSION 
Thursday March 24, 1927 at 8:15 O’clock 
Catalogue Numbers 1 to 79 Inclusive 


NEW MEDFORD 


A dark figure is lying on the sand at the foot of a hill, which slopes down to 
the edge of the water; at the right the pale surface merging imperceptibly 
into the blue of the sky. Signed at lower left, G. INNEss. 

Water-color: Height, 4 inches; length, 6% inches 


Oy rIGi tr SKY 


An acute study of a mood of the sea, pale blue water rolling in crested 
waves towards the darker foreground, the white sky suffused with pinkish 
cloud. Signed at lower right, G. INNEss. 


Water-color: Height, 4% inches; length, 9% inches 


IMPRESSION OF VENICE 


A rapidly thrown together color synthesis, with blue sky and water surround- 
ing the island on which are perched the buildings and campanile of the 
S. Giorgio Maggiore. Signed at lower right, G. INNEss. 

Water-color:. Height, 5 inches; length, 9 inches 


THE LAGOON, VENICE 


Misty water and sky with the uncertain line of the shore of the city in the 
middle distance, topped by a campanile. In the right foreground, fishing 
boats with brown lateen sails, hard by mooring posts. Signed at lower left, 


G. INNEss. 
Water-color: Height, 5% inches; length, 10 inches 


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OIL PAINTINGS & WATER-COLORS BY GEORGEVINNESS 


ACROSS THE CAMPAGNA 


A wide vista of green meadow with a band of woodland in the right middle 
distance terminating on the flank of a village with red houses. Blue summer 
sky with white cirrus on the horizon. Signed at lower left, G. INNEss. 


Water-color: Height, 634 inches; length, 10 inches 


ITALIAN DOORWAY 


‘The view is from the steps of a white stucco mansion in the immediate right 
foreground; before the eye of the spectator is a prospect of broad valley with 
woodland below, and, in the distance, hills in the sunshine under the palest 
of skies. Signed at lower left, G. INNEss. 

Water-color: Height, 8Y%4 inches; width, 634 inches 


NEARS CARPORI 


Peasants are seated on the grass in the right foreground, on the edge of an 
abrupt dip from which emerge the tops of two tall cypresses. Beyond them 
is a rolling wooded valley with the white walls of a village and a convent 
perched on a rise at the right. Brilliant blue sky. Signed at lower right, 
G. INNEss. 

Water-color: Height, 7% inches; length, 10% inches 


MILTON-ON-THE-HUDSON 


Three trees in the left foreground border the summit of a ridge; below is a 
broad wooded plain with houses, glowing almost white in the brilliance of 
the sunlight. Signed at lower left, G. IyNEss. 

Water-color: Height, 734 inches; length, 103% inches 


JUNE 


The bright sunshine illuminates the rolling green country and a copse of tall 
trees in full summer foliage; in a path in the right foreground are two 
figures. In the distance a lake is suggested under the shelter of a hazy 
far mountain. Signed at lower left, G. INNEss. 

Water-color: Height, 634 inches; length, 12% inches 


18 


EVENING SALE + THURSDAY MARCH 24, 1927 


fom OLIVE TREES AT TIVOLI 


The windswept summit of a hill in the foreground, the spring foliage of the 
olive trees blown into wild shapes. Over the edge, the view drops sharply 
to the arable plain below with a white thread of road serpentining across 
the green fields. Signed at lower left, G. INNEss. 


Water-color: Height, 634 inches; length, 1134 inches 


Illustrated in the Life, Art and Letters of George Inness, by George 
inness. | r.,.1917, p-.82: 


[See illustration ] 


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OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


| 


1 NEARS ELVOUEL 


A cluster of pines and other trees with cushiony tops of leafage extending 
from the left foreground into the middle distance over the grass; beyond 
them the open plain lies in the sunshine. Signed at lower right, G. INNEss. 


Water-color and pencil drawing: Height, 834 inches; length, 1034 inches 


[See illustration ] 


20 


ERENING SALE + THURSDAY MARCH 24, 1027 


PaeoOUNTRY ROAD, ITALIAN TYROL 
‘Two peasant women are making their way along a country road, curving 
between meadows at left and right. In the left middle distance, a straggling 
group of farm buildings and the white walls of the end of a village, under 
the shelter of jagged blue mountains towering into clouds. Signed at lower 


left, G. INNEss. 
Water-color: Height, 77% inches; length, 117% inches 


[See illustration | 


21 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


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NEAR CASTELLO 

A hill-path breaks through between groups of tall dark cypresses. “Uhrough 

the gap is a glimpse of the white walls of a village, woods and far moun- 

tains over the valley below. Signed at lower right, G. INNEss. 
Water-color: Height, 10 inches; width, 734 inches 


NEAR DURHAM, CONN. 


A buttress of green foliage flanks on either side the open grass in the fore- 
ground, where stand two dark figures; in the middle distance a placid sheet 
of water with rising ground topped by a forest on the farther side. Signed 
at lower left, Geo. INNEss. 

Water-color: Height, 7% inches; length, 105% inches 


THE OLIVE*ORCHARD 


A man is seated on the grass in the sunlight in an open clearing surrounded 
by olive trees; behind are tall cypresses and a view of forest and lake with 
a village at the lakeside and green hills beyond. Signed at lower left, 


G. INNEss. 
Water-color: Height, 7% inches; length, 10 inches 


BARBERINI, ITALY 


Rolling grassland with tall coniferous trees at the right and in the middle 
distance; beyond them rise tall mountains with scattered sparse vegetation 
and a village at the left; in the right foreground, a peasant woman in white 
blouse and pink skirt, descending towards two figures by the stream in the 
valley. Signed at lower left, G. INNEss. 

Water-color: Height, 67% inches; length, 11% inches 


THE DOLOMITES 


The side of a hill drops abruptly across the immediate foreground, green 
and covered with dark cypress trees. On the other side of the inteivening 
gap is a rugged array of mountains with jagged summits strewn with patches 
of snow, or pink in the sunshine. Signed at lower left, GEo. INNEss. 
Water-color: Height, 834 inches; length, 11% inches 


2, 


SS SC 


EVENING SALE + THURSDAY MARCH 24, 1927 


18. NEAR PERUGIA 


Looking down the grassy hillside, the observer sees successively the fringe 
of an olive orchard, a cluster of tall elms and a rolling valley with scattered 
white houses and far hills. Signed at lower right, G. INNEss. 

Water-color: Height, 115% inches; width, 934 inches 


[See illustration ] 


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OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


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19. DHE VCALEAN HIVES 


A man stands on the grassy mound of the left foreground; at left and right 
are trees, behind the former the squat shape of an old round tower. Below 


is the intense blue of a river, a village among the hills beyond and a vista 
of the plain. Signed at lower left, G. INNEss. 


Water-color: Height, 7% inches; length, 11 inches 


[See illustration ] 


24 


EVENING SALE ’ ITC RS Dal Yaa Ge 27 nO 2 7, 


Soe DALIAN LYROL 


Grassy hillside rising at left and right, with cypresses and coniferous trees 
scattered about. In the distance a chain of rugged mountatin peaks, gray 
before the billows of cumulus cloud. Signed at lower right, G. Inness. 


Water-color: Height, 73% inches; length, 12 inches 


[See illustration ] 


25 


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OIL PAINTINGS © WATER-COLORS BY GEORGEVIND Ess 


AN UPLAND VILLAGE IN THE ITALIAN TYROG 


Italian mountain landscape, the valley girt by swelling grassland with the 
white houses and church of a village clustered at the foot of a huge mountain 
washed by the sunshine. Going up the foreground road are figures of 
peasants. Signed at lower left, G. INNEss. 

Water-color: Height, 838 inches; length, 1134 inches 


‘TYROLEAN “ALPS 


A deep grassy valley rising steeply to mountains on either side; in the fore- 
ground a line of coniferous trees. Perched on the hill at the left is a mansion. 
Signed at lower left, Gro. INNEss. 

Water-color: Height, 8% inches; length, 11% inches 


NIAGARA 


In the right foreground the white foaming stream dropping to the broad 
smooth ultramarine of the lake below; behind it, brown hill with scattered 
vegetation and the white sheet of a cascade in the central middleground. 
Signed at lower right, G. INNEss. 

Water-color: Height, 10% inches; length, 1434 inches 


EARLY SPRING, MONTCLAIR 


A sluggish river with a grassy sand bank rising to a green knoll at the mght, 

crowned by a copse. In the distance, a mass of woodland. Scaled in 

squares for transference to canvas. Signed at lower right, G. INNEss. 
Water-color: Height, 934 inches; length, 13% inches 


ALBANOs TALLY 

On a grassy mound in the right foreground, a group of tall poplar saplings 
dominating the scene; behind them a hillside piled high with woods, in 
which nestle white-walled houses. In the left middle distance, beyond the 
fields, the village with its ancient fortified gate of brick. Signed at lower 


right, G. INNEss. 
Weater-color: Height, 12% inches; width, 9% inches 


26 


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PPENING SALE ’ THORS DAY VAR CH. 


24, 1927 


poo Cc LORGIO, VENICE 


In the right foreground, barges and a two-masted sailing vessel moored by 
the Dogana with its white tower; on the waters of the lagoon, gondolas 


and small steamboats are plying. Across the water is the first of the islands 
with the dome and campanile of S. Giorgio Maggiore. 


Signed at lower 
right, G. Inness, and dated Venice, 1872. 


Water-color and pencil drawing: Height, 10 inches; length, 133% inches 


[See illustration | 


2/7 


OIL PAINTINGS & WATER-COLORS. BY GEORGE INNESS 


27. STONE PINES 


A meadow with figures in the left foreground before a group of tall pines 
topped with flat cushions of foliage; at the right, a wooded rise. “The figures 
and leafage washed in a monochrome of sepia against the sky and grass. 
Signed at lower right, G. INNEss. 


Sepia water-color: Height, 1034 inches; length, 155% inches 


Illustrated in Life, Art, and Letters of George Inness, by George Inness, Jr., 
1917, facing page -30. 


[See illustration ] 


28 


Meh ING SALE « THURSDAY MARCH 24, 1027 


Po eOLDPAPPLE TREES 
A typical Inness landscape of the finest quality. Lying in the grass is an 
old gnarled tree-trunk, struck with a small patch of high light; at the left, 
two saplings. On the farther edge of the meadow a clump of pollard apple 
trees, with an enormous spreading mass of foliage beautifully and delicately 
defined against the pale blue and white of the heavens. Signed at lower 


right, G. INNEss. 


Water-color: Height, 934 inches; length, 124% inches 


Illustrated in the Life, Art, and Letters of George Inness, by SES Inness, 
Jr., 1917, facing page 98. 


[See illustration | 


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29. 


30. 


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OIL PAINTINGS & WATER-COLORS: BY GEORGE INNESS 


THE OLD ROMAN ROAD 


At the left, the road leading between high grass banks and tall trees to an 
old round-arched gate; a town with its clustered houses straggles across the 
middle distance and is dominated by the square white belfry of the church 
pointing into the sky. Signed at lower left, G. INNEss. 


Water-color: Height, 9 inches; length, 14 inches 


MOUNTAIN ROAD 


A peasant mounted on a horse, driving cows before him, is making his way 
down a country road away from the observer. At the left rises a grassy 
ridge partly stripped by bare granite rocks and supporting a cluster of trees. 
Signed at lower right, Geo. INNEss. 

W ater-color: Height, 10% inches; length, 14% inches 


THE WOODLAND BANK, HASTINGS 


At left and right, slender trees with ragged depending foliage; between 
them a vista of plain with roughly indicated vegetation. Signed at lower 


left, G. INNEss. 
Charcoal drawing: Height, 10% inches; length, 14% inches 


THE GORGE 


The bed of a mountain stream bordered by huge masses of granite rock, 
from which rise a sheer two hundred feet the sides of the chasm concealed 
behind a curtain of tangled greenery. Signed at lower left below edge 


of frame. 
Water-color: Height, 1334 inches; width, 10 inches 


30 


— ee a es 


IW ENING SALE 7 TOURS DAT MARCH @24; 1027 


33. A BROOK IN THE CATSKILLS 


The upper waters of a brook curving between granite rocks spanned by a 
trestle bridge. On either side, and in the background a curtain of hazy 
verdure with gray sky above. Signed at lower right, G. INNEss. 


Water-color: Height, 10 inches; length, 14 inches 


[See illustration ] 


Gi 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


34. 


MIUGTON, Noy 


A mature landscape drawing, embodying a subtle sense of the gradations 
of light, economically expressed in monotone. A calm river, in which cattle 
are wading, flows into the right foreground, between meadows with masses 
of trees. In the left foreground, by a fallen dead tree, a fisherman in shirt- 
sleeves. Signed at lower right, Geo. INNEss. 


Charcoal drawing with wash: Height, 113@ inches; length, 1734 inches 


[See illustration | 


32 


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te weNING SALE 7 TE’ RES DAY VIC C Fl 2 4 80 27 


Pee kiVER BANK 


An exquisite composition of pastel foliage colors. On a green mound in 
the left foreground are young bare trees with wildly straggling twigs, look- 
ing down on the meadow beneath; on the grass at the right is the figure of 
a boy. In the middle distance a gentle river winds between banks of pale 
gray-green woodland with early foliage, and reflects a part of the intense 
blue of the morning sky. Signed at lower left, Geo. INNEss, 

Water-color: Height, 133% inches; length, 19% inches 


[See illustration | 


A 


36. A JUNE AFTERNOON 


Broadly treated, with an easy mastery of light effects. “Trees fringe the 
grassy bank at the left, which merges into the gravel shoals of a river washing 
the right foreground. On the farther bank, meadows with beeches and 
oaks and a slowly undulating line of hills in the distance. Signed at lower 
left, G. INNEss. 


Water-color: Height, 1234 inches; length, 19% inches 


[See illustration ] 


34 


EVENING SALE + THURSDAY MARCH 24,.1927 


37. LANDSCAPE WITH RIVER AND TREES 


The placid water winds leisurely in the left foreground, curling past a 
grassy bank at the left, crowned by trees; the undulating meadows of the 
right bank also fringed with scattered woodland, the detail of the fore- 
ground trees meticulously worked out. The whole valley is flooded with 
sunshine. Signed at lower right, Gro. INNEss. 

Water-color: Height, 133% inches; length, 19 inches 


Illustrated in Life, Art, and Letters of George Inness, by George Inness, Jr., 
1917, facing page 27. 


[See illustration ] 


35 


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OIL PAINTINGS & WATER-COLORS. BY GEORGE INNESS 


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Zip shld, Mau aes aC 


Seated in the long grass is a small boy wrapped in a black coat and wearing 
a red cap, staring stolidly at a black turkey; behind them a hurdle fence 
crosses the meadow, other fowls seen through the gap. Running away 
along the left is a fringe of trees with spring foliage tangled up in the blue 
sky, with its masses of white cloud. In the right middle distance a copse. 
Signed at lower right, Gro. INNEss. 


Water-color: Height, 19 inches; width, 13 inches 
[See illustration] 


36 


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43. 


MeL NING SALE ’ EMER IDU ANE NOUR C Ne 7s a ey 


ekekicACHES OF THE RIVER 


A pile of smooth-topped rocks, over the edge of which can be seen a light 
patch of water; the whole scene mantled behind with towering verdure. 
Signed at lower left, G. INNEss. 

Water-color: Height, 1034 inches; length, 14% inches 


tae TROUL STREAM 


A pattern of delicately modulated greens, the grass shadowed by an imper- 
ceptible curtain of trees with a suggestion of a stream curving into the 
foreground. Signed at lower right, G. INNEss. 


Water-color: Height, 13 inches; length, 19 inches 


OM. PATNEUNGS 


PN ePAS TURE 


A glint of water in the foreground breaks the monotony of the enormous 
green plain extending as far as the horizon, beneath a darkening sky. Here 
and there the forms of black and white cattle. Signed at lower left with 
initials, G. I. 


Board: Height, 534 inches; length, 8% inches 


AFTERGLOW 


Red-brown earth in the foreground, with the upright form of a green 
poplar. On the green land in the middle distance are reddened trees and a 
house struck with orange light from the sunset. Above the distant hills a 
thread of pink cirrus cloud. Signed at the lower right, G. Iyness. 

Board: Height, 634 inches; length, 834 inches 


A SUMMER AFTERNOON 


A group of tall tree-trunks at the left, and a drapery of foliage at the right, 
frame an arch through which is seen a prospect of wooded valley. ‘The 
tones of the leafage are dominated by a body color of pale brown. Signed 


at lower left, G. INNEss. 
Board: Height, 9% inches; length, 12% inches 


Si 


OIL PAINTINGS % WATER-COLORS. BY GEORGE INNESS 


44. 


45. 


46. 


47. 


48. 


CATSKILL MOUNTAINS 


A hump of black earth dipping at the right does duty for the range; the 
foreground in the middle distance is rough grassland with tangled green 
undergrowth, brooded over by the failing light. Signed at lower left, 
G. INNEss. 

Board: Height, 7 inches; length, 12 inches 


THE LOG 


A rounded cylinder of hewn tree-trunk lies in the grass and ferns; behind 
it the foliage of the edge of a wood, with the trunk of a beech tree at the 


left wreathed by emerald leaves. 
Board: Height, 13% inches; width, 12% inches 


AUTUMN TREES ; . 
A graceful pyramid of oaks and poplars with dark green and brilliant red 
foliage, rising from a mass of tangled green and brown bushes and under- 
growth. Signed at lower left, G. INNEss. 

Height, 10% inches; width, 8% inches 


(LH ESRIODsOAK 


Almost in the centre of the rolling land, with its patches of autumn greens 
and browns, is the brilliant feathery shape of a red oak, blazing among the 
patches of low-toned color. ‘The sky is darkened by clouds at the zenith, 
almost obscuring a brilliant blue. . 


Academy board: Height, 9 inches; length, 14 inches 
Painted near Montclair, N. J. 


ROME, THE APPIAN WAY 


A delightful painting of the great road of which Inness made several larger 
studies on his Italian journey. In the foreground, the ruined arch of an 
aqueduct overgrown with moss and creepers, men mounted on donkeys pass- 
ing slowly down the sunlit road into the valley below, the curve of the road 
visible in the left middle distance. Behind, the wooded country rises 


steadily towards the distant mountains. 
Height, 12 inches; width, 9 inches 


38 


49. 


50. 


oT. 


Eee 


a: 


EVENING SALE + THURSDAY MARCH 24, 1927 


mar ROCK 

In the left foreground, the rounded mass of rock, behind which is a cluster 
of tree-trunks. A green meadow, crossed by a path and fringed by trees and 
shrubs, lies in the sunshine behind it; brown hills are visible in the distance. 


Signed at lower left, G. INNEss. 
Height, 10 inches; length, 14 inches 


ETRETAT, NORMANDY 


A deserted brown plain, with a patch of black scrub on the ridge forming 
a low mound against the horizon. An inky gray sky partly conceals roughly 
outlined patches of white high-lights. Signed at lower right, G. INNEss. 

Board: Height, 12 inches; length, 1734 inches 


IN THE MEADOW 


Among the long grass in the right foreground and middle distance are the 


‘immobile forms of a number of white and black cattle; the nearest in profile 


to the right beside a fallen tree. Behind them is a river on which is floating 

a boat, the flat grassland of the farther bank, with its thick bulk of green 

forest, and an horizon of lurid orange. Signed at lower left, G. INNEss. 
Height, 12% inches; length, 19 inches 


POG weOr THE WOODS 

A clearing of grass girdled round by trees, the brown trunks of the nearer 

ones divined in the right foreground, amid grass of a brilliant green. ‘Tiny 

patches of sky are visible through the yellowish foliage in the background. 
Academy board: Height, 13 inches; length, 18% inches 


OeveaGE AND YOUTH 

An allegory, depicting a young child in green embracing an old man with 
shirt and coat open, leaning on crutches and looking out to the right over the 
water, where the sky is ink black. Along the edge of the shore, vague 
youthful forms are rising to mock him with the challenge of Youth. Signed 


at lower right, G. INNEss. 
Academy board: Height, 18 inches; length, 24 inches 


39 


54. 


55: 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


ALEXANDRIA BAY 


Swampy country with long lush grass, fringing a narrow stream on which 
is a boat containing two men; at the right are two children watching them, 
balanced at the left by the highlights on a freshly-hewn tree-stump. Behind 
is a rude shanty amid scattered rocks, trees and in the distance at the left, 
a trestle bridge crossing the stream, which has wound round a bend. ‘The 
sky is a brilliant blue at the zenith and filled with a pale light low down to 
where, through a gap in the trees, are seen walls and a white tower. Signed 
at lower left, G. INNEss. 

Academy board: Height, 16 inches; length, 24 inches 


A typical painting of the beginning of Inness’ last period. 


[See illustration | 


TARPON SPRINGS, FLORIDA 


A nocturne dominated by the opposition of brilliant blue sky and russet- 
brown earth; from the latter rise the slender poles of three saplings and the 
edge of a distant wood with a farmhouse nestling amid poplars at the left. 
The land is bisected by a causeway running straight away from the observer, 
and crossing in the foreground a pool of water reflecting the night sky. 
Signed at lower left, G. INNEss. 

Academy board: Height, 18% inches; length, 24% inches 


40 


No. 54. ALEXANDRIA Bay 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


56. 


54? 


MIL‘TON-ON-THE-HUDSON 
In this painting great depth is obtained by the artifice of using a solitary flat 
screen of trees in the foreground. ‘The land, which is at first of lush emerald 
grass and strewn with rocks, changes abruptly on passing this small cluster 
of saplings to swamp country, orange-brown and interspersed with pools of 
water, reaching to the horizon and bordered with a stripe of blue hills; the 
heavens are filled with white clouds, beneath which are small irregular 
patches of blue. Signed below at left of centre, G. INNEss. 

Panel: Height, 17% inches; width, 16% inches 


[See illustration | 


THE SHAWANGUNK MOUNTAINS, N. Y. 

Pasture land, the mournful greenish-brown earth dropping away at the left 
into distant plain with a village in the valley near the curving shores of a 
lake; on the edge of the near road which winds down towards the town, 
a figure, possibly that of a shepherd watching his sheep. A hill juts out 
sharply in a promontory at the right, with figures of grazing animals sil- 
houetted on its summit. “The sky is gray and sapphire with a ribbon of 
pink low down. Signed at lower left, G. INNEss. 


Height, 18 inches; length, 26 inches 


42 


No. 56. M1LtTon-on-THE-Hupson 


58. 


60. 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


THE ROMAN CAMPAGNA 
The rounded arches of a viaduct, over which cattle are passing, crosses the 
valley, losing itself in a straggling mass of autumn trees at the left; in the 
right foreground the land is patterned with patches of brown, green and yel- 
low. Behind, on a hill buttressed by trees, is a cluster of red-roofed white 
buildings knit into the trailing bulk of a town, which straggles down the 
hill, almost out of sight. As far as the eye can see, the view is of quiet 
green plain. Signed at lower right, G. INNEss. 

Height, 12% inches; length, 25% inches 


[See illustration | 


AUTUMN EVENING 

A variation of a favorite subject, to which the artist recurs again and again. 
Round trees at left and right, with russet autumn foliage, are silhouetted 
sharply yet vaguely against the blue-green of the evening sky. “The brown 
land is filled with warm tones and lies still; under the trees is the dark, 
almost mystic, figure of a woman. Signed at lower right, G. INNEss. 


Academy board: Height, 18 inches; length, 24% inches 


WHITE DURKEYS 

A stone building stands at the left, the abutting wall crossing the foreground 
and broken by a narrow gap through which a confused flock of birds is 
passing. Behind it, at the left, and watching the turkeys, is the figure of a 
woman under a tree; at the right, the coop. <A vista of wooded country is 
seen beneath a sky of the palest ultramarine. Signed at lower right, 


G. INNEss. 
Panel: Height, 16 inches; length, 24 inches 


44 


VNOVdWYD NVWOY AH, “8S ‘oN 


Ot: 


O2: 


63. 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


SEE-SAW 


The grass and the thick copse of trees behind are filled with a pure green 
color, glowing in the sunshine. Ina corner of the field are figures of wood- 
cutters and the rounded forms of two huge tree-trunks lying in the grass; 
on one of them a man and a small boy are see-sawing on a plank, watched by 
the men and by a lady at the left in a white dress, carrying a red parasol. 
Signed at lower left, G. INNEss, and dated 1882. 

Height, 15 inches; length, 26 inches 

This picture was painted during one of the many delightful summers 


which Inness spent on the property of Mrs. Asia Hallock at Milton. The 
lady in the white dress is Mrs. George Inness, the wife of the painter. 


[See illustration | 


SPRINGTIME 


A certain sympathetic draftsmanship is displayed in the carefully felt, wrig- 
gling contours of the foliage—a windblown mass of yellowish-green trees 
at left and at right, sensitively sketched in pencil and brightened with deli- 
cately toned color, ‘The trees surround a. small lake, the water of which 
reflects the pinkish cloud in the sky, and is bridged, where the trees come 
together, by a trestle. 


Panel: Height, 20 inches; length, 30 inches 


TWILIGHT POOL 


‘The near bank cuts sharply across the left hand bottom corner of the canvas; 
it drops suddenly to a small pool palely reflecting the uncertain light of the 
evening sky. Behind it, green meadows and an oblong bulk of forest 
bounded at its right end by three tall saplings with shivering brown foliage. 


Height, 20 inches; length, 30 inches 


46 


MVS-TAIS "19 ‘ON 


64. 


66. 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNES 


‘THE BROOK 


A grassy bank, with bushy undergrowth, and in the shadow of the edge of 
a wood, slopes gently down to the narrow waters of a stream flowing diago- 
nally into the right foreground. On the right bank, brown and green shrub- 
bery and an impenetrable mass of September forest. “The trees and their 
reflections fill the whole atmosphere with multitudinous green tones. Signed 


at the lower left, Gro. INNEss. 
Height, 22 inches; length, 28 inches 


[See illustration ] 


APPLE TREES; MILTON; No ¥; 


A hollow in the orchard, the meadow rising over a low undulating ridge in 
the middle distance to disappear between the curtains of green leaves which 
fringe it, broken by an irregular gap of lght sky. ‘Che apple trees, with 
their short sturdy trunks and rugged branches are disposed, two on the ridge 
and one in the left foreground, deep-rooted in the grass. Signed at lower 
left, G. INNEss. 


Height, 20 inches; length, 30 inches 


Painted in the orchard of Mrs. Asia Hallock’s property at Milton. Cf. 
No. 75: 


SUNSET. THROUGH S THice P Riis 

A quiet scene reproduced with nervously scrawled brush strokes; two impene- 
trable piers of foliage interspersed with slender tree-trunks supporting a leafy 
arch in which is hung the fiery orange of the sunset. A species of yew-tree 
points sharply upwards from the ground into the heart of the light; near it, on 
the grass, is the dark figure of a man. Signed at lower left, G. INNEss. 


Panel: Height, 18 inches; length, 24 inches 


48 


No. 64. THE Brook 


67. 


68. 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


GREEN MARSHES 


A misty atmosphere broods over the uncertain outline of the marshes; water 
and reeds closely intermingled into a smooth green compound of swamp 
land. In the right foreground, the figure of a man standing up in a flat- 
bottomed boat. On the farther shore is a screen of forest, the green of the 
trees blending with that of the reeds and narrowing in perspective down at 
the right. Signed at lower right, G. INNEss. 


Height, 20 inches; length, 30 inches 


[See illustration] 


THE BOUNDARY LINE 


Painted with long assured brush strokes and blocked out quickly into grad- 
uated lights. In the foreground is a green meadow, of which the first part 
is in shadow; crossing this, the eye encounters a low fence dividing the canvas 
below the middle line and supporting the purplish trunks of a row of irregu- 
larly spaced trees, with summer foliage. Behind again is a field in sunlight, 
flanked by a mass of vaporous woodland. Sitting on the grass by the fence 
are roughly sketched figures. Signed at lower right, G. INNEss. 


Height, 24 inches; length, 36 inches 


The rapid study above is of the boundary fence between the properties of 
George Inness and his son-in-law, J. Scott Hartley, at Montclair, N. J. 


50 


No. 67. GREEN MarsHEs 


69. 


OIL PAINTINGS & WATER-COLORS BY GEORGE VIN ESS 


LANDSCAPE, MONTCLAIR 


A broad brown band of meadow merges imperceptibly into green grass, the 
wide expanse broken only by a feathery-topped tree and the small figure of a 
man striding through the meadow at the right. ‘The far boundary of the 
field at left and right is composed of the softly rounded green and pinkish 
masses of oaks and beeches, behind which can be dimly seen the village and 
low hills beneath chalky blue heavens. ‘The atmosphere is soft and dewy, 
blending values and blurring perspectives into unimportant confusion. Signed 


at lower left, G. Inness, and dated 1894. 
Height, 24 inches; length, 36 inches 


[See illustration ] 


52 


,» Montcrair 


LANDSCAPE 


69. 


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70. 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


WASHING DAY NEAR PERUGIA 
A narrow stream curves through the scene in the left foreground; on the 
edge of the water, under the lee of the high bank, are figures of washer- 
women in red blouse and blue skirt. Both banks are crowned by trees, the 
foliage of which melts together into a cloud of green; in the right middle 
distance a woman in a blue skirt is walking towards the open fields and the 
square mediaeval outbuilding in the distance. A picture delicately treated in 
color and swift movement of outline. Signed at lower left, G. INNEss. 
Panel: Height, 17% inches ; width, 15 inches 
This delightful picture was painted in 1874, during one of the two summers 
that Inness passed at Perugia. 


[See illustration | 


54 


No. 70. WasHinc Day Near PERUGIA 


Pls 


OIL PAINTINGS & WATER-COLORS BY GEOKGE VIN ss 


NIAGARA 


A grassy mound of bank in the left foreground, at the foot of a stone pier 
of the bridge; on a boulder beside it, watching the spectacle, is the figure 
of a lady in a yellow dress. Before her, the whole boiling mass of bluish- 
black and green water with its clouds of flying spray rising from the rounded 
rocks at the foot of the falls. Signed at lower left, G. INNEss. 


Height, 17 inches; length, 25 inches 
This interesting canvas contains two separate studies of the falls, made 
by the artist from different viewpoints. It was one of the preliminary paint- 
ings preceding the large Niagara, commissioned by and painted for his friend, 
Mr. Roswell-Smith, founder of The Century Magazine, afterwards father-in- 
law of George Inness, Jr. 


[See illustration | 


56 


ARA 


71. Nrac 


No. 


Se 76 al by 


zo 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


ON LHE PARM. MILTON ONS Y. 

The farmhouse lies in the right middle distance behind a stone wall, with a 
clump of tall poplars and other trees. “The meadowland extends away in 
the sunshine to the horizon; in the foreground are scattered saplings, hens 
pecking about in the grass, and a nursemaid wheeling a cheerful baby in a 
perambulator shaded by a red parasol, the infant beckoning towards the 
figure of an elderly lady in white blouse and cap, looking back from near 
the farmhouse. Signed at lower left, G. INNEss, and dated 1882. 


Height, 17 inches; length, 24 inches 


Another of the rarely intimate pictures painted by the artist on the estate 
of Mrs. Asia Hallock at Milton, where writers, among them Harriet Beecher 
Stowe, and artists gathered during the summers of the ’eighties. The baby 
in the perambulator is Miss Rose Hartley, the elderly lady Mrs. Hallock. 


[See illustration | 


58 


e. 
a 


No. 72. ON THE Farm, Mixton, N. Y. 


OIL PAINTINGS & WATER-COLORS BY GEORGE SN iss 


72. INTERIOR OF A WOOD 
A glade, with the grass in shadow and ringed about by the trunks of six 
trees which lose themselves in a haze of spring foliage; an evanescent gap in 
the central middle distance admits only the vaguest glimpse of sky. On the 
circumference of the circle of trunks is a figure at the right. Signed at lower 
left, G. INNEss. 
Height, 25 inches; length, 30 inches 


[See illustration | 


60 


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No. 73. INTERIOR oF A Woop 


74: 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


THE COMING STORM 


A sky filled with cumulus, darkened at the left by a mass of inky storm 
clouds hanging over a farmhouse and a belt of woodland which extends 
across the whole plain, is faintly lighted at the left by the yellow rays of an 
invisible sun. In the meadow, brown and white cattle are grazing placidly; 
in the left foreground is a low rise of rough grass with a copse of trees, 
before it standing a shepherd in blue smock and straw hat, holding a crook, 
and accompanied by his dog. Signed below at centre, G. INNEss. 

Height, 27% inches; length, 42 inches 

This noteworthy painting, one of the most maturely handled of all his 


works, was executed about 1880. It was originally given as a wedding 
present by the artist to his daughter, Mrs. J. S. Hartley. 


[See illustration ] 


62 


No. 74. THE Cominc STORM 


OIL. PAINTINGS & WATER-COLORS BY GEORGES 


Viee 


THES ORCHARDS Vii LON sane 


‘This distinguished picture embodies a profound study of shadows, falling 
on the fresh green grass of an orchard. ‘The straggling wall crossing the 
middle distance is backed by thick woods slightly parted by a hesitant gap 
at the centre; by the wall is a single apple tree, a second set firmly in the 
left foreground and beautifully modeled by the play of light on its bark 
and branches. In the breaking-up of the grass by the effects of the dim 
light and the detail of the solitary wildflower in the foreground are seen the 
whole of Inness’ profound observation of nature. Signed at lower right, 
G. INNEss. 

Height, 30 inches; length, 34%4 inches 


The apple orchard of Mrs. Asia Hallock’s estate at Milton, of which 
Inness made many studies. This important painting is one of the freshest 


and most delightful works of his last period. 


[See illustration | 


64 


MITTON.@Noaye 


THE ORCHARD, 


75: 


O 


N 


Se ee ee ee ee ee ee eee = 


OIL PAINTINGS & WATER-COLORS BY GEORGE INNESS 


70. IHE FIRST ROUNDHOUSE OF THE D. DigAN Dye 
AT SCRANTON 


A wide survey of plain, thickly wooded at the left, with a broad gray band 
of undulating hills in the background. In the centre of the scene, the 
scattered houses and main street of a village, with a station and roundhouse 
in the fields on the other side of the railroad track, which winds in a sinuous 
curve to subdivide into two tracks in the foreground. Rounding a bend is 
an early locomotive pulling a load of freight cars; in the distance are the 
company’s remaining three trains. “The grass rises gently to the near fore- 
ground and is scattered with tree stumps; on a mound beside a tree, a country 
boy in red waistcoat is looking down at the trains. Signed at lower left, 
G. INNEss. 

Height, 34 inches; length, 50 inches 


This painting was originally commissioned by the first president of the 
D. L, and W. R. R. Inness journeyed by stage to Scranton to make a prelimi- 
nary sketch, lost his bag, and had to write his wife for funds. He returned 
and executed the present canvas; this was at first declared unsatisfactory by 
the railroad committee, who insisted not only that he show all four trains of 
the road but that the letters D. L. and W. appear on a locomotive. Inness 
demurred, but being in need of money was persuaded by his wife to make the 
necessary additions. The sequel may be quoted in Inness’ own words: “Here, 
for instance, is a picture I made of Scranton, Pa., done for the Delaware and 
Lackawanna Company, when they built the road. They paid me $75 for it. 
Two years ago, when I was in Mexico City, I picked it up in an old curiosity 
shop. You see I had to show the double tracks and the round house, whether 
they were in perspective or not. But there is considerable power of painting 
in it, and the distance is excellent.” [Obituary notice, Neaw York Herald, 
August 12, 1894.] 

This incident is also referred to in Life, Art, and Letters of George Inness, 
by George Inness, Jr., 1917, p. 111. 


[See illustration ] 


66 


——— 


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No. 76. THe Firsr RounpHousE oF THE D. L. anp W. R. R. aT SCRANTON 


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| 


OIL PAINTINGS & WATER-COLORS BY GEORGERINW Fae 


‘THE; MILE xsPREAM, MON LCEAIR AN [. 


An autumnal harmony of russet-reds, browns and greens, knit by a number 
of strongly vertical lines. “The grass and brown undergrowth at the left 
is fringed by a fence of tall bare birches and maples with russet foliage, the 
straight slender figure of a young girl among them on the left bank of the 
stream, which flows down in the foreground. At the right again, two tall 
trees, the gap formed by the stream filled in the distance by a square tower 
and a factory chimney rising from amid the houses of the village. Behind 
all is a vaporous bluish maze of forest, and on the whole scene the yellow 
light of late afternoon. Signed at lower left, G. INNEss. 

Height, 30 inches; length, 45 inches 

This picture was known in the Inness family as Crump’s Old Factory, 

from the building in the distance. Mrs. Inness taking a fancy to the painting, 

the artist gave it to her, whereupon, knowing his impulses, she promptly 

placed it out of his reach by means of a painter’s tall ladder. Inness made 

several attempts to recover the canvas, but was met with the ultimatum that 


if he wanted it he should get the ladder for it; it consequently remained 
untouched, and Inness afterwards confessed that he liked it very well indeed. 


THE OLD BARN, MONTCLAIK N.S: 


A bold synthesis of leading colors expressed by the cleverly indicated mass 
of an orange-brown barn at the right, before it standing the figure of a 
woman in blue; at the left, the edge of a forest with bluish-green shadows 
under the trees. On the brilliant emerald of the grass at the extreme left 
is a man in red cap, white shirt and blue trousers, pushing a wheel-barrow. 
Signed at lower left, G. INNEss. 

Height 30 inches; length 45 inches 

One of the last works executed by Inness and a study of the barn on the 

family property at Montclair. This picture has always been in the possession 


of Mrs. J. S. Hartley, George Inness’ daughter, and has never been placed on 
public. exhibition. 


68 


EVENING SALE + THURSDAY MARCH 24, 1927 


79. THE END OF AN AUTUMN DAY 


In gray-greens and yellows, a neutral tonality is suggested, robbing the tall 
woods in the middle distance of their outline and their reflections; behind 
them is a belt of orange sunset low down in a sky of pale turquoise. At the 
left are trees by the pale surface of water and a tall sapling; in the right 
foreground, the figure of a man stacking wood. Signed at lower right, 
G. INNEss. 

Height, 32 inches; length, 42 inches 


The End of an Autumn Day was painted in 1894, and is one of the last 
works executed by Inness. 


LEND OF SALE} 


69 


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AAPAP SAWS UNL Sh TEC OURS 
Peel D STATES. & STATE TAX 
Pow RANCH & OTHER PURPOSES 
Sel O GUS ORY PRIVATE 
COU b AW ek TRAM ONIN TS 


CTE AP™,_» 


HE cAmerican Art Association, Inc. will 

furnish appraisements, made by experts under 
its direct supervision, of art and literary property 
and all personal effects, in the settlement of estates, 
for inheritance tax, insurance and other purposes. 
@ The Association is prepared to supplement 
this appraisal work by making catalogues of pri- 
vale libraries, of the contents of homes or of entire 
estates, such catalogues to be modeled after the fine 
and intelligently produced sales catalogues of the 
eAssociation. @.Upon request the ceAssociation 
will furnish the names of many trust and insurance 
companies, executors, administrators, trustees, 
attorneys and private individuals for whom the 
cAssociation has made appraisements which not 
only have been entirely satisfactory to them, 
but have been accepted by the United States 
Estate Tax Bureau, the State Tax (Commission 
and others in interest. 


evi RTC AIN A\RYITD ASSO CLAT LON? oe iN C 
elCaadison, Avenue at (5710 wit eel 


INGER Vp a@ URS Ke 


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COMPOSITION, PRESSWORK 
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